Sunday, June 24, 2018

en profane: Orsay & Centre Pompidou (Paris)

"Et Manet réinvente (ou peut-être invente-t-il?) le tableau comme matérialtè... cette barre qui redouble la verticale et l'horizontale de la toile... des paquets de volumes... le jeu de ces surfaces... les fibres, le tissu de la toile... cet entrecroisement de fils... ce jeu de plis, le mouvement qui va de l'horizontale à la verticale... deux regards dans les directions opposées, recto verso et aucune spectacle ne nous est donée... regards tournés vers l'invisible... l'invisibilité de ce qui est regardé..." (Foucault, La Peiture de Manet).






"... if we still add... a consideration of
weight, pressure, resistance, movement, 
as distinguished from motion, we arrive 
at what may legitimately be called design
in a fourth dimension, or the harmonic use
of what may arbitrarily be called volume"
(Morton Schamberg, quoted in Linda 
Henderson, The Fourth Dimension);


"In our three dimensional universe every
body has a thickness in a fourth dimension,
which is variable in different bodies, but 
invariable in the same body, and that fourth-
dimensional thickness is the body's density..."
(A. G. Blake, quoted in Linda Henderson,
The Fourth Dimension);
"Cézannism then had an incredible effect, 
or affection of the painterly centers of the 
youth. The critics explained this effect by 
the fact that Cézanne was a bad painter, bad
drawer, and bad colorist, generally mediocre, 
and as it is well known, young people are
always influenced only by bad things. After him 
came Cubism, Futurism, and Suprematism, the last
a very malignant foolishness" (Malevich);





"... ses peinture étaient des feux grégeois, 
des bombes atomiques, dont l'angle de vision,
à côté de toutes les autres peintures qui 
sévissaient à cette époque, eût été capable de
déranger gravement le conformisme larvaire
de la bourgeoisie second Empire... Et même
la nature extérieure, avec ses climats, ses marées
et ses tempêtes d'équinoxe ne peut plus, après
le passage de Van Gogh sur terre, garder la 
même gravitation..." (Artaud, Le suicidé de 
la societé);


"Elle s'introduisit donc dans son corps, 
cette société... et possédée effaça en lui
la conscience surnaturelle qu'il venait 
de prendre, et telle une inondation de 
corbeaux noirs dans les fibres de son 
arbre interne, le submergea d'un dernier 
ressaut, et, prenant sa place, le tua..."
(Artaud, Le suicidé de 
la societé);




"This pulse they employ is not understood
to be structurally distinct from vision but to
be at work from deep inside it... Insofar as they 
insist that it is not temporal, the beat they employ
must, in some sense, be figural, but of an order of 
the figure that is far away from the realm of space
that can be neatly opposed to the modality of 
time... there is a third order of the the figure, 
one that Lyotard calls matrix, beyond the reach 
of the visible, that works underground... passivity"
(Rosalind Krauss, The Optical Unconscious);
















"... only discrete frequencies of light
can be emitted, corresponding to the
discrete jumps between the various 
possible energy levels..." (David
Bohm, Causality and Chance in
Modern Physics);











"... un éclairage frontal et perpendiculaire... 
aucun relief, aucun modelé... une sorte d'émail... 
brutalement et d'en face... à plat..." (Foucault,
La Peiture de Manet); 









all pictures by A/Z;






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"Yesterday I had a mood of split consciousness where it seemed
I was observing the globe from the outside... it was difficult to
come back to the trivia of everyday life... displacement in the
country of the fourth dimension is enacted by what one used to
call transmutation... being continuous, no movement in the ordinary
sense of the word can be produced... In our inner visions, the different
fragments which float in our heads are incoherently situated... Some
parts penetrate each other; others seem completely detached... we must
draw lines and establish a structural coherence..." (Frantisek Kupka as
quoted in Henderson's The Fourth Dimension);








"Duchamp begins by setting up his condition that
a point does not cut [cross] a three-dimensional
continuum whereas a line does. By analogy... a line
does not cut [cross] a four-dimensional continuum
but a plane does" (Linda Henderson, The Fourth 
Dimension);
"Il y a donc bien une intuition des continus 
à plus de trois dimensions et si elle exige une 
attention plus soutenue que l'intuition géométrique 
ordinaire, c'est sans doute une affaire d'habitude, 
et aussi l'effet de la complication rapidement 
croissante des propriétés des continus quand 
augmente le nombre des dimensions" 
(Poincaré, Pourquoi l'espace a trois dimensions);






"Isn't repeating oneself precisely what
painting allows one to do, especially
once one has found one's particular 
language, the stylistic invention that
will allow one to move inside it and
inhabit it, growing and changing within
the new syntax one can call one's own?"
(Rosalind Krauss, The Optical Unconscious);




"As the instrument of penetration the wedge
is gendered male. And the wounded sphere is 
female. But as labial surface stroked by its
active, possessing partner, the wedge reverses 
its sex, flipping into an unmistakable image of 
the genitality of the woman. Swish. Flip. Alter...
Lips" (Rosalind Krauss, The Optical
Unconscious);
















all pictures by A/Z;






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See also:
- Córdoba;  
- Lublin
- Warszawa